One's immediate reaction before hearing a note is the generosity of the coupling
on this 2CD issue. Mozart's last three great symphonies, his Requiem and
Brendel too. It looks like splendid value - and it turns out to be just that.

The recordings that DG chose for the Symphonies are from the Karl Böhm
/ Berlin Philharmonic set that was issued in the early 1960s. Big orchestras
were the norm then for performances of the classical composers and there
was little of today's slimline and often quicker Mozart. Looked at from today's
perspective once the mind has made the compensating jump needed the music
takes over and within reason size ceases to matter.

The E Flat (No 39) is a delight. The strings avoid sounding overheavy, the
quiet opening to the Andante almost like a chamber orchestra, the
woodwinds are splendid in the trio and the finale scampers along in
irresistible fashion. No 40 - the G Minor that in butchered form became a
pop chart entry some years ago - has a steady rather than exuberant opening,
a second movement Andante with some exquisitely shaded sectional string playing,
a rather stolid minuet andtrio and a restrained Finale.

Of the three eminently sound performances, Böhm's Jupiter is
the pick. Tempi throughout seem just about right, the strings have space
to show the Berliners' qualities, the magnificent winds play impeccably and
the recording clarity allows them to be heard as they should be. A
straightforward, affectionate performance full of warmth.

Alfred Brendel's K457 the Sonata No 14 in C Minor is the only fully digital
item (1985) in the double pack. Many people will recognise Brendel as a Philips
performer and the recording is credited to them in the booklet. His playing
of this rather sombre piece is, as ever, highly individualistic. This is
a strong, powerful version which avoids over-sentimentalising the well-known
middle adagio and drives quite fiercely at times in the two outer
movements. Listeners be warned that the sometimes annoying noises you may
hear are Brendel himself in his supporting vocal role. The recording is
excellent.

The Requiem is given a dramatic, highly colourful reading by Karajan.
Everything is on the big scale, rich and colourful and every effect he can
find is there. The feeling of effect triumphing over subtlety comes across
but the result is undoubtedly striking. Individually and as a team the soloists
impress (Walter Berry is outstanding) and the Viennese Chorus is quite
magnificent and in many ways they steal the show. Inevitably the Berlin
Philharmonic is impeccable and the entire recording will please those who
enjoy their Mozart in technicolour and wide-screen. The recording is a good
one (from 1962) but its wide range brings out some hiss.